By Cláudia Tatinge Nascimento

A refined research of the way the intersection of process, reminiscence, and mind's eye tell performance, this book redirects the intercultural debate through focusing solely at the actor at paintings. along the views of other prominent intercultural actors, this research attracts from unique interviews with Ang Gey Pin (formerly with the Workcenter of Jerzy Grotowski and Thomas Richards) and Roberta Carreri (Odin Teatret). via illuminating the hidden artistic approaches often unavailable to outsiders--the actor’s apprenticeship, education, personality improvement, and rehearsals--Nascimento both unearths how assumptions in response to race or ethnicity are misguiding, hassle definitions of intra- and intercultural practices, and details how functionality analyses and claims of appropriation fail to contemplate the everlasting transformation of the actor’s identification that cultural transmission and embodiment represent.

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Extra info for Crossing Cultural Borders Through the Actor’s Work: Foreign Bodies of Knowledge

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The detailed examination of the works and testimonies of different intercultural actors provided me with answers leading to a fresh perspective on intercultural performance. I include a number of writings by different actors who left their countries of origin to develop experimental work with stable theatre groups, such as Yoshi Oida’s An Actor Adrift, Erik Exe Christoffersen’s The Actor’s Way discussion with four Odin Teatret actors, David Williams’ interviews with actors in his Peter Brook and the Mahabharata: Critical Perspectives,7 Théâtre du Soleil actor Juliana Carneiro da Cunha’s and longtime Peter Brook collaborator Sotigui Kouyaté’s testimonies, the latter two published in the Brazilian journal Folhetim.

Differently, what interests me is that in crossing cultural borders the intercultural actor takes a step beyond “unearthing hidden histories” and breaks with spectators’ expectations of a perfect match between her ethnicity and cultural identity. Such a move opens our eyes to new possibilities of devising and revising our multicultural realities. In being the agent of her professional culture, as opposed to passively subscribing to cultural assumptions, this kind of actor constructs onstage a complex identity that cannot fit smoothly into any prescribed category—an experience which is already a given in our dailylife realities.

In an earlier book, Theatre and the World, Bharucha had already stated that “once [Brook] places his marks on his materials, they no longer belong to their cultures. They become part of his world” (81). Although it is undeniable that Brook’s position as an Englishman directing a stage version of an Indian epic is tremendously complicated by the empire/colony relationship between the two countries, for me the crucial problem lies in a false expectation on the part of Bharucha. It is unrealistic and unreasonable to expect that Brook would be staging The Mahabharata as an Indian director would; moreover, the production was intended to be an adaptation of the text, and not its “authentic” representation.

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